Fine art photography printed on Hahnemühle cotton paper
Dimensions: 30 × 40 cm
Edition: 1/7 + 2 A.P.
Signed and numbered on verso

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The series Sediments was born from the desire to listen to photographic matter in its slowest breath.

In these chemigrams, gesture withdraws to make space for reaction — for the secret dialogue between emulsion, light, and time.

The images emerge like organic remnants, geological fragments, traces of invisible processes: they do not depict, they reveal.

Color becomes earthy — brown, gold, copper — conveying a sense of return to origin, to a ground still warm with transformation.

Each surface is an alchemical site where dissolution gives birth to new forms, where accident becomes language.

Sediments is a meditation on impermanence and the memory of matter: what remains after the passage of time, what time itself leaves as a trace of life.

Part of an ongoing exploration into the autonomy of silver paper material.

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Fine art photography printed on Hahnemühle cotton paper
Dimensions: 30 × 40 cm
Edition: 1/7 + 2 A.P.
Signed and numbered on verso

Each work is an alchemical sedimentation: traces of gold, red, and black emerge as remnants of a luminous metamorphosis.
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On the photosensitive paper, light and chemistry converse as opposing yet complementary forces.
By intervening directly on the surface, I allow the material to react, transform, and oxidise.
Each trace and colour is born from an unpredictable encounter — light wounds, time deposits, chemistry leaves behind fragments that seem to surface from a memory’s depth.
Gold, red, and black evoke combustion and rebirth: an inner geology where the image does not represent, but emerges.

Part of an ongoing exploration into the autonomy of silver paper material.

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Analog photomontage, silver salt gelatin. Taken with my camera minutera.

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“In that stillness, I wanted to involve my whole body and let myself be carried away by some movement.
The encounter with the other, I recognise their fragmentation and make it my own.”

‘Self-Portraits, Metamorphosis of the Negatives’ is a project that was born during a post-accident recovery and brings together chemical explorations carried out inside my camera minutera using some negatives of people I have photographed over the years.

It all begins by choosing a negative from the box in which they are stored, reproducing the positive and then letting things happen. Between the passages from negative to positive, I intervene with double exposure, the infiltration of light inside the camera, the deposition of silver on photographic paper, the superimposition of objects, etc.

The works I propose are based on a balance between realism and its deconstruction to reveal the darker side of life by exploring emotions such as sadness, melancholy, loss, pain, and loneliness.
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Photography has always been about experimentation, and the advent of digital imaging hasn’t stopped this creative force. Now more then ever, in fact, adepts of the craft are discovering new frontiers for reinvention.
Experimental Photography brings an insider’s eye to the cutting edge in new analogue photographic techniques, showcasing the most interesting and creative modifications for low-cost film cameras, manual printing techniques and unconventional uses of the medium.
This book guides the reader through the world of photographic special effects and manipulations, documenting techniques and approaches, experimenters and camera makers, as well as their extraordinary creations. To chronicle the scene at its broadest, it also includes a section of some of the most exciting experimental photographers out there today.
Experimental Photography is a manifesto for resisting visual homogenization.

Including artwork by Akroyd & Harvey, Wayne M. Belger, Binh Danh, Matthew Brandt, Francesco Capponi, Jno Cook, Édouard Decam, Ruth Erdt, Cesare Fabbri, Barbara Ghidini, Francisco Gómez, Paolo Gioli, James Guerin, Kwanghun Hyun, Tayo Onorato & Nico Krebs, Brana Vojnovic, Abelardo Morell and many others.